• 한국콘텐츠학회논문지
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• 제17권12호
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• pp.525-536
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• 2017

아프리카 문학의 대표적인 소설가 치누아 아체베는 아프리카 민속문학의 대표작을 세웠다는 데에서도 기여한 바가 있으나 영문 소설의 외연을 확장하였다는 점에서도 그 기여한 바가 적지 않다. 이에 본 논문에서는 그의 대표적인 소설 '모든 것이 산산이 부서진다'외 1편의 소설을 분석하여 그가 영어로 소설을 쓰면서도 나이지리아의 토착어인 이보어의 속담, 문구 등을 교차 사용하여 기존 영문 소설에서는 찾아볼 수 없었던 정서를 담는 등으로 영문 소설의 외연을 확장시켰다는 점을 논증하고자 한다.

• 영어영문학
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• 제60권2호
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• pp.193-209
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• 2014

Writers in England's colonies and former colonies have long struggled with the advantages and disadvantages of employing the language of the colonizer for their creative work, an issue that today reaches beyond the older imperial trade routes in the era of "global English." Creative writers in widely disparate locations are now using global English to their advantage, with what can be described as post-postcolonial strategies. This essay explores the politics of global English, beginning with a satiric dictionary of "Strine" (Australian English) from 1965, and then looking back at the mid-1960s debate at Makerere University between Ngugi wa Thiong'o and Chinua Achebe, in which Achebe famously asserted the importance of remaking English for hi own purposes. The essay then discusses early linguistic experiments by Rudyard Kipling, who became the world's first truly global writer in the 1880s and 1890s and developed a range of strategies for conveying local experience to a global audience. The essay then turns to two contemporary examples: a comic pastiche of Kipling-and of Kiplingese-by the contemporary Tibetan writer Jamyang Norbu, who deploys "Babu English" and the legacy of British rule against Chinese encroachment in Tibet; and, finally, the Korean-American internet group Young-hae Chang Heavy Industries, who interweave African-American English with North Korean political rhetoric to hilariously subversive effect.

• 영어영문학
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• 제55권1호
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• pp.61-82
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• 2009

This paper aims to reexamine the issue of racism in Conrad's Heart of Darkness, especially in the light of Chinua Achebe's critique of the novella as a racist text entrenched with European prejudices of Africa and its people in his 1975 speech at the University of Massachusetts titled "An Image of Africa." While the novella's indictment of imperial exploitation has been noted from an early stage of its critical reception, its racism had hardly been discussed until Chinua Achebe posed it. Achebe offers the canonized status of the text as a modernist classic, "the most commonly prescribed novel in twentieth-century literature courses," as one reason for its obvious manifestations of racism being glossed over. One may add that Conrad's militant denunciation of imperialist enterprises as "a sordid farce," his seemingly radical stance against imperialism, serves as ideological constraints upon his readers, blinding them to its immanent racism. A closer look at the novella's attack on imperialism turns out to be contradictory, for it also shows such liberal-humanist ideas as the civilizing mission, the work ethic, and the superiority of civilized man, all of which served to prop up European imperialism at the end of the nineteenth century. This ideological contradiction also accounts for Conrad's racist attitude, which is betrayed in his portrayal of Africans as obscure, primitive. Euro-American imperialism has frequently justified itself by recourse to racism, but racism has not always been allied with imperialism. Some staunch racists such as Robert Knox and Arthur de Gobineau went against imperialism, and Conrad proves one of such cases whose critique of imperialism is voiced in ways that can be characterized as racist.

• 영어영문학
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• 제64권3호
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• pp.415-432
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• 2018

This essay reinterprets Joseph Conrad's The Heart of Darkness as satirical writing. In an experience-based fictional world, Conrad places imperial precursors who present themselves with a derogatory demeanor that stems from corrupt rapacity at its forefront. This rapacity is enabled by what European colonists believe to be a noble cause, regarded as a vehicle with which to enlighten African continent in his work. This essay reads this noble cause that allows such exorbitant and corrupt rapacity as a dominant element in the construction of Conrad's characters, particularly Kurtz, as objects of satire. Kurtz ends up beginning his calamitous descent into barbarism, mockingly quite opposite to what the colonial disciples misconceive themselves to be. In exhuming the satirical elements from the novel, this paper proves the significance of reading The Heart of Darkness as satire as an alternative reading to the racist book Chinua Achebe has accused it of.